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The 3 Most Important Factors For Great Social Dancing

Takeshi Young
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The 3 Most Important Factors For Great Social Dancing

Do you want to be a Great Social Dancer? Well this post is dedicated to helping people (irrespective of level) identify what it takes for them to become the best social dancer that they can possibly be.

Now – if you don’t have time to read this article – In a nut-shell, it all boils down to Connection: Connecting with the Music  – Connecting with your partner – connecting with the move… etc. It’s all about connection. However, how can you improve on this connection? Well that is what I am going to share with you in this article, So let’s get to it….

1. It’s all about the MUSIC:

You do not dance to 123, 567! Those are counts, you dance to the music!

Don’t forget about the Music when you dance because you are too busy counting. Dance to the MUSIC!

Counting was introduced to make teaching easier and to help people keep the rhythm. It was never meant to replace the music all together. So, Dance to the Music!

Now, just in-case you missed it, DANCE WITH THE MUSIC!

There is a combination of 3 things that encompasses dancing to the Music. I recommend you start with A and work your way down to C.

A) Dance on the Song = To the right beat (45%). You can’t just dance to some imaginary beat in your head. Salsa dance is based on moving to the rhythm. Anything else isn’t really Salsa. So find the rhythm and stick with it.

B) Dance to the song = Style of music (35%). Is it a romantica (dance soft) or a dura (dance hard) or a classica (dance smooth)? Don’t just execute endless turn patterns irrespective of the style of music. Make sure your dance style fits the music. Music like all good stories has an intro, a build up, a main section and an outro. Make sure you move accordingly and  understand the idea of flow – using both exertion and calmness to create varying effects when you dance.

C) Dance with the Music = Interpret the music and play with it (20%). Feel the music with your body and hit those musical accents and feel the changes in the song and use these changes in your movement to express it. Hitting a break in the song with a perfectly timed dip or move is magic and will do wonders for you and your dance partner.

2. TECHNIQUE, Technique, Technique

Perfect Practice makes perfect. Dancing is an art-form and just like any art-form, you need not just practice, but practice perfectly. So Learn to Lead or Learn to Follow.  However, what does it mean to Lead or follow?

A) LEARN TO FOLLOW

Follows should feel and not think; following in this sense refers to feeling the lead and the rhythm, not thinking what does the lead want me to do now? This requires the Follow to be totally receptive.

Imagine the Leader is like a radio station sending out signals or sound waves, and you the Follower are like a radio with it’s antenna totally receptive. The whole dance is the interplay of opposites but these opposites need to blend together to work in harmony and become one, just like the yin-yang symbol. (analogy courtesy of Marchant Birch)

B) LEARN TO LEAD

Think of this as learning to drive a car. Nothing beats experience and you have got to pay your dues and learn (Sorry, no short-cuts). The more your drive the better you get, same on the dance floor.

Now driving just like leading follows the same principles. You do not drive every-car exactly the same even though the principles of driving are set. So a Ferrari is very different experience from a Volkswagen beetle in almost every way. The point?

Even though technique remains the same, every follow is different and thus requires a different lead. Therefore, continuously learn how different follows move and adjust your lead accordingly.

P.S. Accept the fact that not everyone can be the Adolfo Indacochea on the dance floor. Get over it and just be the best damn driver you can be! This boils down to Quality over quantity. Rather do the 6 moves you know really well than the 26 you just learned yesterday and haven’t perfected yet.

3. HAVE FUN:

Having Fun is probably the most important thing on the dance floor. Here are 5 key points that will help you communicate to your dance partner that you are having a good time:

A) Smile – This is the easiest way to communicate you are having a good time and put the person you are dancing with at ease.

B) Dance together – Dance is a language of communication. So for the few minutes you dance together, make the person you are dancing with feel like the center of the universe. Forget about how many people are watching you, it has nothing to do with them. This dance is between you and your partner. 2 people sharing a beautiful moment and creating a wonderful experience together.

C) Eye contact – Maintain some form of eye contact, however don’t gaze into each others eyes too deeply. Note: Staring the entire time without blinking comes across as serial killerish. Too little eye contact however comes across as disinterested. So you need to find the balance.

D) Hygiene – It’s kind of hard to have fun when you are pressed up against someone dripping with sweat and smells like they have not had a shower in days and also has bad Breath! Enough Said.

E) Don’t be a creep –  Learn to respect personal space. While dancing is in essence a sensual activity, everyone has their limits, and crossing them is the opposite of fun.

Till next time, Live, Laugh, Love & Salsa!

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This Article is based on research and advice given by some of the worlds best salseros and salseras. What do you think? Is there anything else missing in this article that would help make you become a Great Social Dancer? If so, please share with me and the world.

Better Grip, Better Dancing!

Richie Kirwan
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0
Better Grip, Better Dancing!

Salsa, like any new endeavor, ain’t easy at the beginning. There’s just so many things to remember:

  • Stay on time
  • Elbows up
  • Keep the steps small
  • Don’t grab with your thumbs
  • Maintain appropriate eye contact
  • Smile
  • Be aware of other dancers…

The list goes on and on!

To a beginner it can be pretty intimidating but I promise you, it all comes together eventually and with practice, soon you won’t even need to think of of all these individual components any more.

Leads & Follows

As a lead, most of what I’ve written in the past has either focused on the lead or skills common to both leads and follows.

My ability as a follow leaves a lot to be desired (as any man who has danced with me will tell you…which is more than I care to admit) so I haven’t written much specifically for ladies in the past (I’ll be using “ladies” and “follows” interchangeably throughout this article…get over it).

So, what the heck do you think you can tell us?!
Well, as a lead, I can tell the difference between a good follow and one that needs a little work. Which, let’s be serious, is pretty damn important.

So, how can I improve my following?
I’m almost adverse to the idea of telling people to focus on one thing over others. Truth be told, it’s all essential. That’s the beauty of dance, it’s the harmonization of many different aspects, beautifully orchestrated into one glorious symphony. You can’t have a symphony with just one guy playing the triangle.

Buuuut! If there is one thing that I tend to notice with beginner salseras, it’s what they do with there hands (or in many cases, what they’re not doing).

Whenever I dance with newbie salseras (who have pretty much nailed the basic step) one of my main gripes is with there hand grip: either there’s not enough or there’s waaaaay too much!

The Missing Connection

Let me paint you a picture:

You’re dancing with a good lead for the first time. He’s treating you the way a good lead should treat someone he’s never danced with before; testing the waters so to speak. He leads you through a basic, a cross body lead, a few basic turns… he’s feeling good, he decides to throw in something a little more complicated… he flicks your hand up, turns himself around and places his hand in front of you for you to grab it again and… nothing. You’ve missed a trick. Happens all the time. 

Another example, might be when a guy leads you into a hammerlock (which can be an intimidating move for a newbie salsera) and tries to maintain contact with you through a good old “hook”. Unfortunately, there’s no reciprocating hook back there and he loses you. Again, happens all the time.

These are perfect examples of a lack of good grip in salsa. It can be really frustrating but it’s pretty easily remedied.

Don’t be too clingy either

The opposite end of the spectrum might go a little something like this (from the lead’s perspective):

We’re having a fun dance. We’re getting to know each other’s styles. We’ve gone through the basics so I up the ante a little. I try wrapping one arm around you and then release the grip of my other hand to complete the move. Only problem is, my hand is still attached to yours, caught in a vice like grip of death. Escape is impossible. 

In reality, not only is this problem annoying, but it’s downright dangerous too. It’s probably the easiest way to a sprained wrist when dancing. I’ve even written about this before under the title “The Claw” when I wrote an article on God Awful Dancers. It’s definitely worth mentioning that this is an issue common in men and women and definitely worth nipping in the bud.

Improving Grip in 3 Easy Steps:

1. Keep your eyes on his hands

When a lead releases your hand, you need to locate it as quickly as possible when he presents it to you moments later. Now, it’s vitally important that a lead presents his hand well, in a position where it’s visible and easy to reach but provided he’s done that, you need to be looking for it. Keep your eyes open and even follow the gaze of the lead; it may just lead you to where his hand is.

2. Learn to make a good hook

A hook is one of the most useful holds in salsa. Basically, you curl up and tense your fingers to allow them to “hook” into the reciprocating hook of the lead. If you feel the lead forming a hook with his hand, that means you need to form one too (with out grabbing) and maintain it until he releases his hook. You can practice it simply by forming and releasing hooks with your own hands.

3. Leave your thumbs out of the equation & don’t grab

Pretty self explanatory I think, there are very few situations that call for a firm “grip” in salsa and generally it’s initiated by the lead (who should know better than to use it otherwise). Keep your connection with the lead light and for the love of God, don’t clamp down on their hands with your thumbs. If a guy did it to you I’d say “dig your nails in” to get him to release you… don’t do it yourself. A salsa connection should be light, like a cloudy dancer.

And that’s it
In reality, maintaining a proper grip in salsa isn’t all that difficult. You just need to be aware or what you should and shouldn’t do. Bear these little points in mind the next time you go social dancing and see how much it smooths things out for you.

Keep dancing folks.

8 Salsa Dance Personality Types

Sorrel Holliday
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2

No matter the country or the dance floor, there are certain character types of personalities that we all recognize on the dance floor.

1. The Diva

The Diva applies to both men and women, since Latin dance is a hub for Diva’s from all walks of life. Sometimes a cross-over with The Celebrity, but not a requirement, the Diva needs the very best, and nothing less. If there isn’t enough space on the dance floor to meet their requirements, they won’t dance. Not a fan of beginners, and often elaborate in dancing style, the Diva makes sure their presence is known. Whilst there are many variations of the Diva, there is usually more than one on any salsa dance floor. They have usually trodden on your toe and then glared at you as though it were your fault: you know when you’ve met a Diva.

2. The Prince/ Princess

Haughty and confident, The Prince/Princess has none of the external flashiness of The Diva, but rather a very concrete internal belief of his or her self-worth. The result: not overly friendly. Downright intimidating perhaps. For all their ability, a dance with a Prince or Princess can be something of a cold experience. Always polite, deep down inside you know he or she rates themselves above everybody else in the room, as behind their smile, is pain: at being surrounded by so many incompetents.

3. The Enthusiast

Good-willed and energetic, the enthusiast can be found at every event and in every country. It doesn’t matter that you travelled from the city to an obscure village over the weekend for an uncle’s wedding, somehow, The Enthusiast will be there! It leads one to wonder whether or not the The Enthusiast has a special portal with which to transport themselves to salsa related events.

4. The Apologist

Somewhat timid, always ready to take the blame, The Apologist agonises over every mistake. When combined with The Princess, it makes for something of an awkward dance, since she will be unlikely to laugh off his apologetic mumblings. It’s the kind of scene that makes you want to bury your face in your hands.

5. The Celebrity

Perhaps not a celebrity in real-world terms, but in the salsa world, everyone knows who they are. Usually an international performer and/or teacher, these guys can often be spotted by their exceptionally late arrival to the club. If it’s a congress, we’re talking 3, sometimes 2am. Time is needed to unwind after a show to shower, and change, maybe have a couple drinks. And maybe a few more after that. ..Sometimes the jet-lag and free mini-bar can lead to alcoholism. If you are lucky enough to grab a Celebrity from next to the DJ stand or the bar, you may well experience some Diva tendencies.

Disclaimer: most performers are approachable, and are not alcoholics.

6. The Impersonator

Somewhat like a Celebrity, except they’re not. If you squint really hard while they’re dancing, you might actually think you are looking at an international star on the other side of the room. Venture a little closer, however, and it is in fact a well-studied impersonation.  An impersonator does not stop at emulating a dance style, but more often than not, the wardrobe of their preferred dancer. At very large events there may well be three or four versions of the same person, and finding the original becomes something like a special salsa edition of ‘Where’s Wally’.

7. The Fashion Victim

The vibrant array of personalities that are attracted to Latin Dance, often results in a vibrant array of attire. This is great. Unless there are body parts flopping out that really shouldn’t be, skin spilling over, chest hair protruding, and just general fashion faux pas. Whilst fashion faux pas occur everywhere, the ratio per square mile in a salsa event just seems to be higher than anywhere else. Why this is, I’ve yet to work out.

8. Mr. Practical

Mr. Practical has the opposite intention to The Fashion Victim, but the outcome is pretty much the same. You can usually spot him in sportswear at a social dancing event, the tighter the better, Lycra being the obvious choice. Whilst sweating in salsa a concern for all (or nearly all), the majority tend to prefer a simple shirt change, rather than a Lycra gym top. Whilst it is indeed practical, let’s be honest, he does look a bit like he’s about to run a marathon.

This post is light humour: make sure to check out the Salsa Personality Profile Test, for a more serious appraisal of salsa types! 😉

Dance Etiquette Is Life Etiquette

Tasleem Ria
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4
Dance Etiquette Is Life Etiquette

I remember going out to my first milonga (tango event) a few years back.  After only two dances, I felt really uneasy because both the men I had danced with shared very peculiar looks on their faces once the dance was over.  Was I that bad, I thought?

When a third gentleman asked me to dance, I reluctantly went out on the floor with him, afraid that I might get the same reaction.  This man obviously knew what he was doing.  He was confident, but gentle in his embrace.   I felt so comfortable with him that it only took a few seconds for my shoulders and arms to relax in his.   I just listened to the music and my partner, forgetting about the previous dances.  I was following with more ease, really enjoying the moment.  And once the song came to an end, I was sure that my partner had enjoyed it too.  With a connection like that, how could he not have?

But as I thanked him for the dance, what I thought had started out as a smile on his face very quickly turned into that awful expression I was dreading to see again- the same one the other two men prior to him had had.   I began walking away with my head sinking into my chest.  Maybe it wasn’t my dancing.  ‘Did I have something in my teeth?’ I thought.  Did I need deodorant?  I subtly leaned my nose towards my shoulder, secretly trying to get a whiff of my armpit.   But all I could smell was my favorite perfume still lingering on my skin.  So what was it?  Before I could think about it much longer, the man I had just danced with grabbed my arm and asked me where I was going.

The hopeful side of me thought, “Aha! Look at that. I must have been doing something right because this guy doesn’t want me to go yet.”  But as I turned to look at him, my hopes dwindled.  His tight grip on my wrist, and his angry eyes glaring at me, were not a good sign.  His aggressive energy shook me up and totally caught me off guard.   With a furrowed brow and tight lip, he said, “You DON’T do that.”  He squeezed my arm harder with each word as he added, “It’s-embarrassing. Everyone –will –wonder -what- I-did-wrong.”

I took my free hand and used it to shake his off of my wrist, and then I said, “Don’t do what? What exactly is it that you think I did?”

“You walked off the dance floor before the songs were finished,” he said.

“But the song IS finished,” I responded as I pointed up towards the new music vibrating through the speakers.

“In tango, there are at least three songs that are played as a group.  And it is a rule that you must dance all of them in that set, or tanda, with the same partner,” he said in frustration.  “If you are going to dance tango, you should know this. It is basic TANGO ETIQUETTE!” he announced emphatically.

“Tango etiquette?” I managed to say after a silent pause, “Really? Well, what about people etiquette? Maybe you should learn that first,” and then I finally did walk away.

I have wanted to write an article on Dance Etiquette for some time. But I was struggling with the realization that etiquette in dance is not separate from etiquette in life. They are very much connected.  And when we witness or experience someone lacking in some areas of dance etiquette, more often than not, these social skills are also lacking in their daily lives.   And that thought suddenly turned this whole topic into something much bigger than I first imagined.  ‘How was I to cover all that in a short article?’ I thought.   Moreover, would the people who need help in the etiquette department the most really even read this? Or even if they did, would they even recognize themselves as the ones needing to make improvements?

But the more I got to thinking about it, the more I realized that we ALL could use help in the etiquette department- some more than others, yes.  But it’s not something you learn once and then master.  The learning of it continues because we are always growing as people and we are all so unique.  No one is perfect all the time.  I know I am definitely not.  So who am I to give you a set of rules on how to behave, when, frankly, I’m sure I myself have strayed in some way or another from them.  I decided, therefore, to make this a list of reminders, instead, for all of us to strive towards, to help do our part in maintaining the healthiest dance communities that we can.

1. First and foremost is recognizing that WE ARE A COMMUNITY.

And as part of that community, we have a certain responsibility to consider how our actions, words, and behaviour affect not only the people whom we come into contact with on the dance floor, but also the effect it has on the overall atmosphere, energy and growth of the scene. If we want to continue to have places to go to dance, and share this passion for dance in a positive way, we need to not only think of ourselves and what we are going to wear that night, or how flashy we might want to be, or what cool new moves we are going to throw out on the dance floor, but how we make others FEEL because of those choices. How does our presence, and how do our actions, affect and contribute to the atmosphere as a whole?

2. DRESS TO IMPRESS 

We often talk about how a person’s look might say a lot about them. You dress to feel good and to make a statement about yourself. But what if you were to consider that what you put on also speaks for what you think about others, how much you’ve considered them? For example, as a lead, you might have a favorite collared shirt or tank top you like to wear. But some collars can get in the way of those close dances like kizomba or tango or some bachata dances. Collars on men can make a follow struggle to figure out where to position her face without having her eye poked out (Trust me, it happens, I know!).   And tank tops can make it hard for a follow to have a comfortable grip or connection with the lead’s shoulder or shoulder blade, especially if his shoulders and arms get quite sweaty and sticky.

As a follow, I sometimes choose not to wear some of my favorite hair accessories, belts, shirts or bracelets because their texture, length, or dangling bits can get caught or in the way of some leads’ movements. They can also be uncomfortable in close dances for both me and my partner.

Some of my favorite leads are those who bring extra shirts.  I think that whether you are male or female, extra shirts are the easiest way to freshen up.  They not only keep you clean and dry, they also make dancing with you even that much more fun.   I have tried it myself.  And I was pleasantly surprised at how good it felt to change into a new top in the middle of the night.  It just gave me an extra boost of energy and self-assurance after feeling weighed down and a little self-conscious about the first shirt that was sticking (and possibly stinking?) to me earlier.

3. A LITTLE SCENTS GOES A LONG WAY

Speaking of stink, carry a little deodorant, a sample of your favorite perfume, some gum, or a pack of mints with you in your purse or shoe bag so that you can use them as needed during the night. This will not only make you smell good to others while dancing, but it can also provide you with more confidence when simply socializing and conversing on and off the dance floor. Plus, a pleasing scent can leave a lasting impression. But unfortunately, so can a scent that is repelling.

4. CONNECT

Connect- not just with the music and your partner during a dance, but with people in general, whether you share a dance with them or not.  How? Someone once pointed out to me that one of the best sounding words we can hear is our names. I know it makes me feel good when I am at an event and a fellow dancer calls me by my name. It makes me feel acknowledged among all the other people around us. It’s hard, I know, to remember names, especially because we meet so many people while dancing, but often hardly share a few words before we switch to a new partner.  But make an effort to share a few more words.  Getting to know more about people’s ‘outside-of-dance lives’ helps us to make more meaningful connections.  And then we can attach a name and a personality to a face.  It also lets people know they matter, that they are valued in the community.  And people want to feel like they belong and are appreciated, both in and outside the dance world.

5. R-E-S-P-E-C-T – Others and Yourself

Being respectful in the way you ask someone to dance is important, but we also have to be respectful of their response. If they decline a dance, yes, it might be hurtful or we may find it rude. But, it is that person’s choice to do so, and sending negative signals their way because you are feeling rejected does not help the situation. Remember, it is your choice after being declined if you want to ask that same person to dance again.  If you keep asking, and they keep refusing, why not spend time on the many others out there to choose from? We see this in personal relationships as well- people chasing after those that are not showing any interest or giving them the time of day.  Respect yourself enough to realize that your time is valuable, that YOU are valuable.  And put that time into someone who sees that value.  And if the person who originally said No decides to change their mind, let them come and ask you.

As much as it can be upsetting when someone says no to a dance, there could be so many reasons why.   And in all honesty, I would much rather that a person say no to a dance with me, because they don’t want to dance with me, than have them say yes and then watch them spend that three or four minutes looking around bored and just anxious for the dance to end.  That just makes for an unenjoyable dance for both of us.

If you are the one saying no, hopefully, you can at least give a valid reason, or simply show consideration of the courage it might have taken for someone to ask.  There is no reason to make the person doing the asking feel unappreciated.  Besides, you never know where you might run into this person off the dance floor. They might be someone you end up working with, someone who might help you in a difficult situation, or someone who you might surprisingly think is pretty cool after all, if you give them a chance.

6. BE MINDFUL OF YOUR SPACE

The space you are in, the number of people on the dance floor, and yours and your partner’s personal space can be a complex part of dance that need not be forgotten. How close or far your partner wishes to be in a dance can be determined by their body language.  Or, if you are really not sure, ask.  Also, you and your partner might be having fun and making full use of the space in which you are moving.  But remember there are other people around you. Leaders need to ensure that their followers are safe and are not being thrown into the couples next to them. And followers can help by putting a little more pressure on the lead’s back or shoulder to signal that a couple near them is getting too close.  Be sure to keep within the designated space that you have created during your dance so that you are not causing any unnecessary collisions.  Dancing is so much more fun when you don’t have to worry about being elbowed, sliced by a heel or how many band aids you might end up wearing by the end of the night.

7. LISTEN- with more than your ears

We talk a lot about listening to the music when we learn to dance- counting the beats and being in time with the rhythm. But  listening to your partner is equally as important. Sure, you may have learned a new, fancy move in class the other day, or an extra bit of styling that you want to pull out in your next dance.  But gage what level the person in front of you is at.  If they are already showing signs of having difficulty keeping up with some basic steps, there’s no use in bringing in your complex moves to throw them off even more.  If you yourself are not comfortable with basics, don’t ‘messy’ up the dance by jumping ahead and adding layers you are not yet ready for.  Not only will it make for a very awkward dance for your partner, but it will look and feel clumsy for both of you and anyone watching.   What impresses me are advanced dancers who do their best to enjoy every dance they have.  They help to make their partner shine no matter what level they are at.   And in the end, both people have a great time.   I also love dancing with beginner dancers who might not know any intricate turn patterns but who recognize the value in simply having a clear and connected basic. They often turn out to be my favorite dances.

8. WITH SAFETY COMES FREEDOM

In any relationship- whether a friendship, a romantic relationship or an introduction to someone new on the dance floor- I believe that safety is of the utmost importance. When a person feels safe to express, be themselves, not be afraid of getting hurt or judged, they are so much more at ease.  With this comes freedom.  In dance, this translates to the freedom of  movement and trust, which is so important.  It can turn a mediocre dance into one that is dynamic and full of expression and emotion.  The tanguero I described in the story at the beginning of this article may have been a great dancer, and might even have been a decent guy. But somewhere along the line, he became so concerned with what HE would look like being rejected, that he didn’t consider me at all. It was his reaction to the situation that made me feel very unsafe and unprotected in his presence. He could have just explained the ‘rules’ to me in a more polite manner, and I would have been more appreciative of his advice.  His grabbing my arm didn’t teach me anything about tango. Instead, it made me just want to stay well away from him in order to feel safe and respected.

9. APOLOGIZE– It’s a strength, not a weakness.

Some of the best lessons in dance etiquette have come to me from people and situations that did not start out positively, but took a turn because of someone’s courage to apologize. A few years back, a lead was pointing out my mistakes during a social dance, and he kept pushing his weight on me, claiming it was the correct way to keep a strong connection.  It was painful, frustrating and made me so upset that I vowed, in my mind, never to dance with or talk to him again.  Thank goodness one of us was mature about the situation, and it turned out it wasn’t me.  After some time, this guy began learning more about the dance, and he realized that not everything he was telling me was completely correct.  But rather than being as stubborn and proud as I was, he, after a few months, came up to me to apologize for the way he had treated me before.  That took guts.

It wasn’t a direct apology, but the next time we danced, he showed so much consideration towards me that I knew instantly that he wanted to try to make amends for what had happened before.   I might have been a little thrown by it at first, but eventually, I let my guard down and realized that I needed to give him another chance too.  I was really appreciative of the effort he made to reconnect. And his example has allowed me to see that apologizing, even after the fact, can make a huge difference- in circumstances in dance, but also simply in everyday life.  I have since then been in situations where I also apologized to someone, for possibly being too abrupt with them, or giving them advice about dance when they didn’t ask for it, or simply for declining a dance with them without giving them a valid reason.  And it’s been amazing to see all the understanding responses I received for my having reached out to those people.  They also have turned out to be some of my favorite people to dance with.

10. LEAD BY EXAMPLE

It’s easy to point fingers at people on the dance floor who are rude, who don’t treat us the way we want to be treated, who are not the best at taking care of their hygiene, or even those who blatantly go around harassing others. But in the end, we need to realize that we cannot control someone else’s behaviour- in dance or in life in general. No matter how much we complain or voice our opinions or write articles on this topic, we cannot expect people to change just because we might think their behaviour is inappropriate. What we CAN control, however, is the way WE behave and the choices we make.  And if we prove to be good examples, hopefully, others won’t be able to help but to follow in our footsteps. 

No matter who you are in the dance scene, model what it is you want to see in others.  Dance teachers- if you encourage your students in class, demonstrate that you genuinely believe in them by asking them to dance at a social event.  Seasoned social dancers- welcome new dancers in to the scene by sharing helpful tips, introducing them to friends, and including these newcomers into conversations and possible social outings.  If you are an event organizer, don’t spend time putting other events and organizers down.  Criticizing your ‘competition’ in front of the dancers in the scene only makes you look unprofessional and immature.   If you represent everything you want to be, people will gravitate towards you and your events naturally, without you having to remind them of any faults in others. 

DANCE ETIQUETTE ⇔ LIFE ETIQUETTE

And finally, take what you learn in life about treating people with respect and consideration into your dancing world.  But also recognize that dance is an avenue through which we can learn to be more sensitive, compassionate, communicative, and to have deeper connections with those around us.  It can help us hone our social skills even more and teach us how to be better people ourselves.  And by taking these lessons learned in dance into our daily lives, dance can help to make both our lives on and off the dance floor more meaningful.

How To Choose A Salsa Choreography Course

Sorrell Holliday
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2

If you’ve been dancing salsa for a while, you may well have noticed the explosion of popularity in ‘six week choreography’ courses and the like. Today I’d like to explore some of the pros and cons of these courses, and what to look out for if you’d like to go ahead and take part in one.

Are these programs a fit for you?

Firstly, it’s important to take a moment to consider exactly what it is that you’re hoping to get out of it. Have you been dancing for a long time, but never had the opportunity to perform before? Are you new to salsa, and believe this may be a quick and intensive way to become a great dancer ASAP?

If the first description is you, and you’ve got a great grip of social dancing already, then a choreography course may well be the perfect thing to take your dancing to the next level. A good choreography course should focus on the kind of technique that you may well not have needed in social dancing, and result in you becoming a more graceful and technically proficient dancer. However, if you are new to salsa, taking part in a choreography course will not allow you to develop a comprehensive understanding of how to dance salsa socially in freestyle settings. That’s not to say you shouldn’t go ahead and take part if you wish to do so, but simply to be aware that you will more than likely be limited to those 3 minutes of routine that you learnt.

There are a few choreographies that will place more of an emphasis on leading and following than others, but as far I’m concerned, the beauty of a successful choreography lies in the fact that it is able to convey a level of musicality and slickness that only the very best can achieve in freestyle. Making a highly rehearsed choreography look natural is another thing, but the point I am making is that leading and following need not necessarily be a main component. Lifts and dips for example are impressive, but hardly spontaneous. Many times a situation will arise, where we’ve asked a performer for a dance expecting them to be great, and it turned out to be a real disappointment! For that reason, it is important to bear in mind what you want to get out of a choreography course, and if that is to become a first class social dancer, then such a course is not necessarily the answer.

That being said, if you are learning things like spin technique and keeping a line, a choreography will not harm your freestyle. What could be detrimental, however, is if you begin to take up habits such as leading yourself, or trying to execute moves that are not possible to follow. So I would strongly advise leaving choreography courses to a little later down the line if you are relatively new to salsa.

If you’re ready

What if you ARE at the stage where you want to gain confidence by performing and taking your technique to the next level? The first thing you need to keep in mind, is that with a six week course, there is a good chance you may be up on stage before you are truly ready. Ultimately, if you are performing solely for the experience, then I can’t really argue that there is any problem with this. However, we have all seen some shows where the performers weren’t really ready to go on stage, and it can be a little awkward to watch. If you want to avoid this being the case, you could ask your teacher what kind of level you need to reach, and how will they help you get there. Be wary of entering a course at the right level: it can be frustrating if the payment for the course is on-going, but half the team isn’t at the same level, and you’re therefore not progressing at the right speed.

Some better-known performers and teachers will travel up and down the country, sometimes abroad to teach a course once a week. Often, they are teaching in several different geographical locations each day of the week, and may or may not be less involved with their students. It’s important to make the differentiation between a great performer and a great teacher…..After forking out for an intensive two day course with one of all time favorite dancers, I was once really disappointed to find that he went faster than anyone on the course was happy with in order to get to the end of the combinations. Subsequently, I’ve been to more of said teacher’s classes at congresses, and haven’t found the instruction to be very comprehensive.

Sometimes you are paying for the brand and the notoriety of a performer, not their teaching abilities. Again you have to weigh up what you want to get out of it: if you want to learn how to execute a move to exactly mirror this dancer, then to see them in person is priceless. If however, you want a thorough breakdown of technique, don’t assume a big name will give you the best instruction.

PROS:

  • Social
  • You may learn technique you wouldn’t otherwise.
  • Opportunity to perform on-stage.
  • Additional styling and advanced technique.
  • Potentially the chance to further learn about musicality and construction of choreography.

Potential CONS:

  • If you do not have a solid understanding of salsa basics, you may learn some bad habits.
  • If the course has people of all different levels, you may not be challenged, or you will be out of your depth.
  • Some salsa teachers want to make a quick buck by doing as many classes as possible, which may or may not be detriment to quality of course.
  • You may perform before you are ready.

So there you have it my salsa friends! After all of my cautioning I will go ahead and say that choreography courses are incredibly good fun, and  the perfect way to take you the next level in your salsa dancing journey.  Rehearsals will no doubt be something that you look forward to each week, and you may not even want them to ever end! I strongly advise you to take such a course if you dream of being on stage, and if when it comes to social dancing, you want not just to be able to lead/follow, but to do so with flair and style.

The Salsa Personality Profile Test

Chilly Alisar
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What is a Personality Profile Test?

A personality test is a questionnaire or other standardized instrument designed to reveal aspects of an individual’s character or psychological make-up.

If you are in the working world, you might have had to take one of these when joining a company to see if you were a good fit. It’s a very useful tool in highlighting what motivates and drives a person, identifying how a person behaves under certain circumstances and explaining certain quirks and personality traits. If you have never taken one, I suggest you do as it’s very insightful.

One thing that has become very apparent to me is that people have very different motives for learning to dance Salsa. This might seem so obvious you would think it does not even warrant mentioning. However, when you dig deep you realize that a lot of misunderstandings and ‘politics’ in the Salsa scene are caused by a lack of this understanding and empathy. Once you understand and accept this, it puts you in a much better position to deal with the all the different personality types you meet on the scene and learn to accept them for who they are.

There is no questionnaire to help reveal the aspects of your salsa personality (although there is a poll at the bottom of this post). However, what it does do is describe some of the key motivational facts and traits of each of the personality types and what drives them. It’s up to you to figure out which one you are.

Now lets just get 2 things out of the way real quick:

1.  Although I have created four personality types, very few people fall entirely into only one of these categories. The average person will usually have a primary trait in one category and a secondary trait in another. In fact you may find that you even have traits from all four categories. However, all things being equal – you will gravitate towards one category more than all the others.

2. I am not a psychologist. These profiles are made up for your reading pleasure and they do not reflect the views of the Go Latin Dance, but are entirely my own creation. Now that we have the disclaimer out the way, lets get down to it.

There are 4 personality types on the scene and they make up the Acronym SDPV

The Socialite:

This person comes to Salsa for the social aspect it provides (and sometimes just to get out of the house). They are here to meet people and sometimes even to find a future mate.  They attend almost all the socials and dance a lot and hang out and maybe even have a couple of drinks. Now I am sure you are saying – this sounds like just about everyone at Salsa.

So how can you spot a true socialite?

Identifying characteristics and key traits:

  • Despite having been dancing for a number of years, their dance level never improves and they show absolutely no interest in getting better.
  • The moment they start dating someone, they usually disappear off the scene and only reappear when they are single again.

The Dancer:

This person keeps on coming back to Salsa because they are totally addicted to Salsa and it has practically taken over their lives.

Identifying characteristic and key traits:

  • They listen to Salsa absolutely everywhere. You would think no other genre of music exists.
  • They will regularly be caught doing spins in elevators, shines in public bathrooms, dancing with their imaginary dance partner in the kitchen and tapping their feet under the table. They have an insatiable desire to learn and keep growing and achieve the ultimate connection with their dance partner and a ‘oneness’ with the music. As a result they are constantly pushing themselves to the next level on their salsa journey.
  • They can justify just about anything for Salsa – Spending crazy money on congresses, travelling miles to attend salsa events, failings in their personal relationships and abandoning old friends etc., all this to feed their addiction called Salsa.

The Performer:

This person comes to Salsa because of the opportunities it provides them to perform and get on stage to dance and look sexy. They absolutely love to be seen on stage and the rush that comes with performing in front of an audience.

Identifying characteristic and key traits:

  • They joined an amateur performance team before they could do a basic step.
  • They don’t like social dancing and rarely attend socials which have no performances.
  • When they do social dance, they have very flashy styling or big moves.
  • They are amazing to watch yet horrible to dance with. (The guys are rough and the girls just don’t follow).

The Visionary:

Simply put, this category applies to DJ’s and Promoters. They have a vision and they push for it to become reality and this is not easy. You can’t please everyone and this is even more truer in the salsa community.  On1, On2, Mambo, Dura, Romantica, Cuban, Bachata, Kizomba, Cha Cha. So many options, its hard to be a purist or strike a balance.

So DJ’s constantly have push to take the dancers on a journey that makes them want to stay on the dance floor all night long and inspire them to keep dancing.  It’s a fine balancing act.

While promoters (not the ones who are in it for the money) usually have to have an idea for an event that involves getting varying kinds of dancers onto 1 space and creating a fun loving dancing environment that leaves them all motivated and inspired.

Both require you to have a vision and ability to see it through to the end and ignore all the complaints and bitching along the way.

So, that wraps up the 4 Salsa personality profile types on the scene. Now time for the million dollar question: What personality profile type are you?

Which category best describes your salsa personality?
Vote

Leave a comment!

What Makes Someone A Salsa Champion

Paul Stepowski
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What Makes Someone A Salsa Champion

In any salsa scene, there are some people who have more influence than others over how the scene changes over time. I will call these people “champions”. This article is not about people who compete at salsa championships. In fact, I personally feel that the competitive aspect of dancing can (and does) have negative effects on how we think about dancing, but there are some positives as well. However, this article is not about the pros and cons of competitive dancing. I could write another whole article on this topic alone. This article is about people who have a major influence on the scene. Think of “champion” as a verb, rather than as a noun.

So what makes a salsa champion? Champions win people over to their cause by providing inspiration. They are leaders. They are the role models in the scene who lead by example, and others sit up and take notice and think to themselves “I want to be like them”. They might be the social dancer on the floor that you can’t take your eyes off. They might be the performer on the stage that makes you want to get up out of your seat and start dancing. They might be the dancer you have fascinating discussions with over dinner, coffee or at congresses who make you want to be part of something bigger than just you and your dancing.

I believe that there are three essential traits that make a person champion material.

1. TALENT

Champions separate themselves from other people in the dance community because they are able to contribute in a way that not many others can. They might be an exceptionally talented social dancer. The lead that all the ladies cross the floor dance with, or the follow that leads are sitting out dance after dance for, just to get one shot to ask her to dance. They might be an exceptionally talented performer, who is constantly flown around the world to perform at salsa congresses. However, champions are not always the people who are centre stage. There might be teachers, promoters and organisers who work tirelessly behind the scenes, with relatively little recognition, in order to host events and grow the scene. You don’t have to be well known, or in the spotlight, to be a champion and make a huge difference to the scene. Champions play to their strengths, whatever they may be, and use them to influence the scene in a positive way.

2. A LOVE OF WHAT THEY DO

Champions do what they do because they love it, whether they are compensated for it or not. Sometimes after years of work, there is some sort of financial reward, or social recognition, but I doubt, from a purely financial point of view, that most champions ever get a true return on investment for the hours they invest into doing what they love. Even the most famous salsa icons are not rich, or, if they are, they didn’t make their riches solely through dancing. Dancers are artists, and there is definitely a “starving artist” element to being a salsa dancer, even a famous one. Salsa dancers are not rock stars, and do not earn rock star dollars. They do it, because they love it. You can’t fake passion, not over the long term anyway.

3. A LOVE OF PEOPLE

This should not be confused with being a “people person”. I don’t believe that champions are necessarily extroverts. In this context, I define “love” as the will to extend one’s self for the purpose of nurturing another human being’s personal growth. Champions have a genuine interest in seeing others realise their full potential and become the strongest version of themselves, even if it does not directly benefit the champion. In my opinion, that’s real love, not the Hollywood schmaltz that is so often referred to as love, which could more accurately be defined as lust and/or attachment.

It’s not enough to rely on one or two of the above traits. A champion really has to possess all three. I was recently talking to an extremely talented dancer, whom I’m not going to name, and I asked her about her goals, and where she wanted to take her dancing. She told me that she wanted to attend congresses for free as a teacher, like another famous dancer before her. I must admit that I was a bit disappointed by her response to my question. Essentially she viewed teaching at congresses as a sort of stepping stone that will enable her to do what she really loves, which is social dancing with the best dancers in the world. If that is indeed her ambition, then I doubt she’ll ever achieve it, not because she lacks talent, but she doesn’t love teaching. She loves social dancing. From my observation, she viewed teaching as simply as a means to an end in order to facilitate her social dancing dreams. Unfortunately, that is not what inspires people. My invitation to anyone who believes that they might have the making of a champion is to do what you love and do not compromise.

In conclusion, from my observations, one of the most critical, and most overlooked parts of implementing positive change in the dance scene, or any culture, is the identification and engagement of champions. I also believe that it takes a team of people, which includes multiple champions with a range of talents, as well as other committed individuals, to affect wide-scale cultural change. However, it all comes back to people at the end of the day. Remember that a culture is only as strong as its people and the relationships between them. I also encourage people to remember that you don’t have to be in a position of authority to display leadership. Simply lead (or champion) by example and with integrity, and, if what you’re doing has any merit, people will come around eventually. It will take faith and persistence, but it will happen.

See you on the dance floor!

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